It’s really telling that the last “big series” from Trigger have all suffered from the same whack-ass writing and pacing issues. People needed to do some Olympic-level mental gymnastics to defend KLK as some masterful treatise on feminism and empowerment—protip: it was not; fictional characters have no agency—just to…
afriendtosell
afriendtosell
Look, a lot of people love the series and are going to tell you that the end of it excuses/explains/twists the fascist undercurrent running throughout the manga. They’re going to tell you it’s either brilliant writing, or that the story is “worth it,” despite the criticisms levied against it, because:
Is he gonna put overt racism and fascist apologia in this one, too?
BNA enjoys Studio Trigger’s usual visual appeal and a premise full of interesting concepts. It’s pretty fun overall, but very little of its plot sees any follow-through. It’s clear the show is trying to say something, but never entirely apparent what that might be.
ok
Zangeif is technically complex, because his button inputs are weird and—at time—feel counter intuitive.
Unfortunately, I feel like fighting games everywhere are moving away from quirky and mechanically complex/interesting characters to more and more technically difficult and/or straight-forward characters. It’s just easier to build a roster around characters that play similarly, but have very minute differences or…
This is why people fucking hate nerds.
Yeah, stuff like this is why I’m of two minds about these kinds of situations—the “we’re paying you in exposure!” argument is certainly true, and a lot of scummy practices build off from it; but, on the other hand...how is what Capcom doing any different from other contests in the past that work similarly? Or, better…
As someone who vaguely remembers playing the first, like, hour of this game and then giving up because it seemed very tedious—can you sell it to me? I keep hearing rave reviews, but distantly remember that one of my biggest beefs starting out was how automatic/MMO-y the combat felt, and how you could miss out on side q…
That’s fair; I just work with kids so much that I associate that particular complaint with young ones.
There’s a case to be made, either way; even if your game isn’t directly marketed to “kids”, you still want to make a product that people outside of your chief demo might be interested in.
To be fair, you can blame GTA and Batman for that, as well. AC may have codified the genre, but GTA was the game that started us down this path of “Life Simulator Open World Game,” while the Batman series dressed up tedious Easter Egg and collectible hunting as almost necessary to keep people playing.
You can cool it on shitting on a little kid, who for all intents and purposes—even if he wasn’t the intended audience—was right. The first Assassin’s Creed has pityingly little to do outside of the main storyline, which the Devs agreed on, and the game would’ve been criticized for it.
Netflix thrives on new subscribers, not old or current ones. The entire model--and why most shows only last two or three seasons--is based around getting as many new eyes on a show as possible, but not having those eyes stay.
Depending on how they’re implementing this, it’s an obvious move to both cut down on inactive accounts while also pruning accounts that are shared between families and/or friends. They’re making sure the right kind of viewer is using their service, because those are the ones they can figure into their data wrt number…
WHERE
Probably not related, but the engine/graphics looks like they’ve been lifted straight from slightly tweaked assets from 3DX/The Klub.